It was brought to my attention today that Saurabh’s piece on Masaan was plagiarized from Trisha Gupta’s original Mumbai Mirror piece. Naturally she is rather upset about this. I hadn’t read either piece but then I quickly did a comparison and her complaint is entirely justified. I am rather disappointed I must say. I still did not wish to go public with this because I did not wish to shame anyone this way. Therefore as soon as I learnt about this I deleted the post and tweeted Trisha Gupta about this (she’d registered her complaint on twitter as well) but then someone left a comment on Saurabh’s post highlighting the similarities and I felt it only fair to give the other side a chance. I certainly owed it to Trisha Gupta. Obviously Qalandar wasn’t aware of Trisha Gupta’s piece either when he posted Saurabh’s article. Anyway I am now referencing the comment that was left today by someone below. I have of course deleted Saurabh’s post but I can testify to the fact that the claims below are entirely accurate. To this end I am appending a paragraph (as example) from Saurabh’s piece at the end here and one can compare it to the opening one in Trisha Gupta’s piece. This is completely unacceptable. My apologies to Trisha Gupta..
EXCERPT: “What makes Baahubali striking is precisely this “world-making”, director S.S. Rajamouli’s ability to imagine the particulars of every scene to such a degree that this make-believe world becomes real for the audience, even plausible. Plenty of other filmmakers can focus on the battle scenes and grand sets, but absent this eye for the little, it can all seem a bit lifeless … In Baahubali, this eye is seen everywhere: think of the bales of straw the castle’s defenders use to try and prevent Sivudu from riding out of Mahishmati’s capital on a chariot; or of the hollow (wooden?) tube the hero uses to hold the green snake he’s going to release on Avantika while she’s taking aim atop a tree … or the way in which Mahishmati’s rulers discuss the battle plan in the film’s second half. At every step, Rajamouli and writer Vijayendra Prasad seem to have thought long and hard about how such a world might work if it existed — and because they have done so, that world comes alive for us. Compared to Baahubali, even the best of Bollywood’s grand fables –think Lagaan — seem airbrushed, most historicals superficial in the face of its thoroughness — Jodha-Akbar comes to mind, or Asoka — and the less said about wannabe fantasies (like Krrish) the better. In this it is inspired by the best of contemporary American TV (and, much like Game of Thrones, ends with a sensational cliffhanger). Walking out of the cinema after the film I had a stupid grin on my face, the sort that meant: This too is possible.”